Shooting a digital indie feature film on a limited budget and tight schedule demands dependable and versatile production equipment. For the makers of Interstate, a film noir road movie, that meant using
series of six High Definition Electronic Cinematography Prime Lenses.
Written and directed by Marc A. Samson, Interstate had a budget in the low six figures and a 16-day shooting schedule, all of which made for a demanding production experience for veteran cameraman John Sharaf. He went on location armed with a Panasonic Varicam and Canon’s entire HD-EC 2/3-inch Cine Prime Lens series, including the FJs5mm, 9mm, 14mm, 24mm, 35mm, and 55mm.
Working with Director of Photography Pascal Chappuis, Sharaf used the Canon primes.
The core of the Canon FJs Prime Lens series comes from the combination of Hi Index, Ultra Low dispersion glass and multilayer coatings that produce Canon’s superb imagery. The lenses feature optimization of MTF at the wide aperture settings and a very short MOD (minimum object distance). Canon’s innovative Internal Focus employs a two-group floating optical system for highest performance. Traditional film-style lens feel and operation make the Canon FJs Prime Lens series instantly familiar to the most experienced users. They are the most compact, lightweight, high-performance 2/3-inch prime lenses in the industry.
The Canon FJs series’ magnesium alloy body provides the lowest weight of all available 2/3-inch cine prime lenses (3.3 lbs. for the 5mm and 2.42 lbs. for all others). According to Sharaf, this was a distinct benefit during Interstate’s often-grueling shoots. “A lot of the movie was done hand-held with the Panasonic Varicam,” he noted. “Having such a lightweight lens enabled frequent, easy lens exchange while also avoiding fatigue with the many, many takes often involved in a theatrical production.”